The 1920s was a period of massive growth and innovation in music, witnessing the first electrical recordings, the explosion of jazz music, the proliferation of gramophone players, the beginnings of music radio, and even the advent of the BBC.
While sound-on-film recording was used and would eventually overtake sound-on-disc methods, during the 1920s, sound-on-disc was both cheaper and better quality, with a larger dynamic range. In 1927 The Jazz Singer became the first feature film with a synchronised music score as well as lip-synchronised singing and speech, using the Vitaphone sound-on-disc system. Starring Al Jolson, this early musical movie was the beginning of a whole new way of popularising songs and the artists who performed them. The Golden Age of Hollywood was underway!
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The following songs achieved the highest positions in Joel Whitburn's Pop Memories 1890-1954 and record sales reported on the "Discography of American Historical Recordings" website during 1920:[3] Numerical rankings are approximate, they are only used as a frame of reference.
The David M. Rubenstein Rare Book & Manuscript Library at Duke University holds a significant collection of 19th and early 20th century American sheet music. The Historic American Sheet Music Project provides access to digital images of over 3000 pieces from the collection, published in the United States between 1850 and 1920.
Is anything in this article factually incorrect? Please submit a comment.Have a question or a suggestion about this entry? Contact NCpedia at --> Printer-friendly pageSelect ratingGive Music History from Colonization to the 1920s 1/5Give Music History from Colonization to the 1920s 2/5Give Music History from Colonization to the 1920s 3/5Give Music History from Colonization to the 1920s 4/5Give Music History from Colonization to the 1920s 5/5Average: 3.6 (29 votes)RateMusic History from Colonization to the 1920s"America's Music in the 1920s"by Barrett A. Silverstein
Reprinted with permission from the Tar Heel Junior Historian. Spring 2004.
Tar Heel Junior Historian Association, NC Museum of History
In the early 1900s, some southern rural communities grew to be less isolated as they became industrialized, and major social and technological developments changed the way of life for many people. The radio came to many isolated rural areas in the 1920s. It brought popular commercial music from northern cities. It also made possible a venue for country musicians to broadcast throughout the South, on programs such as the National Barn Dance.
Charlie Poole and his North Carolina Ramblers were among the many popular string bands of the 1920s. The band featured fiddle, guitar, and banjo, and combined traditional dance tunes with the latest offerings from the New York song industry.
Around the turn of the twentieth century, a new type of African American music had begun to be heard throughout the South. Whether slow and mournful, harsh and driving, or light and naughty, these solo songs became known collectively as the blues. The early years of the twentieth century saw a continuous migration of southern blacks from rural areas to cities and from the South to the North. By the 1920s, a number of large urban African American populations existed throughout the country. As a result, Memphis, St. Louis, Atlanta, Indianapolis, Detroit, and Chicago became blues centers.
The music heard in North Carolina in the 1920s was heard mostly in homes or in places of worship. However, with the arrival of the radio, and the recording of country and folk music, musical experiences and tastes changed during the decade.
Mills returned to New York City in 1920 at the start of an explosion of black intellectual and popular culture called the Harlem Renaissance. Jazz, a style of music with origins in black musical traditions of New Orleans and Chicago had just arrived in New York. While at the same time, black writers, artists, performers, and intellectuals, were creating a distinctive Harlem culture.
In fact, it was at an NAACP meeting led by James Weldon Johnson in 1920 that the songwriters Sissle and Blake met sketch comedians Miller and Lyles, and the idea for an all-black Broadway show was born.
Appreciating the artistry of Smith can be challenging for 21st century listeners. Our ears are accustomed to the insistent, amplified rhythms that propel rap, R&B and rock, and we expect songs to have verses, choruses and occasional bridges that lend a measure of sonic variety to these three- or four-minute-long productions. In contrast, the classic blues, with their acoustic instrumentation, might sound quiet, slow and repetitive. The repeated lines and consistent chord changes inherent to the classic 12-bar structure can feel static to contemporary listeners, but even in the 1920s, there were listeners who found Smith's Southern blues too slow. Smith's primary audience comprised Southern working-class African Americans who connected with the content, feel and pace of her music, and it was likely that they were already familiar with the form. The precise starting point of the blues is hazy, but scholars place its origins in the post-Emancipation musical practices of African Americans living in the South. It was music that formerly enslaved people created, using it to explore deeply personal experiences and the worries, tensions and desires that accompanied them.
Even as the sound of popular music drifted away from the blues, Smith's persona, subject matter, forceful vocals and fierce attitude were a presence on recordings released by succeeding generations of musicians. This was especially clear in the 1980s and 1990s, when women of the hip-hop nation such as Queen Latifah, Salt-N-Pepa and TLC showed themselves to be inheritors of Smith's tradition. Their uncompromising attitude and their emphasis on chronicling the everyday aspects of black working-class life offered updated versions of the blues spirit. It is no accident that Queen Latifah, who started the rap on her 1993 track "U.N.I.T.Y." by calling out men who disrespected black women with the confrontational question "Who you calling a 'bitch?' " was tapped to portray Smith in Dee Rees' 2015 biopic Bessie. Queen Latifah's insistence on respect, her majestic demeanor and the reference to royalty in her stage name connect her to Smith, the first queen of African American popular music. Salt-N-Pepa's "Let's Talk About Sex" and TLC's "Ain't 2 Proud 2 Beg," both released in 1991, opened up musical conversations about sexuality in relation to emotional fulfillment, physical pleasure and sexual health. While the forthright approach of these songs and their direct address to women were in the mode of Smith's songs about the pursuit of sexual pleasure ("Nobody in Town Can Bake a Sweet Jelly Roll Like Mine" [1923] and "I'm Wild About That Thing" [1929], for example), they were also very much of their time: The exhortations to insist that male sexual partners use condoms were a response to the AIDS epidemic and part of "safe sex" campaigns that were coming into the mainstream but still controversial. Like Smith in the 1920s, these latter-day artists made the many dimensions of sexual intimacy part of a public conversation.
During this explosion of interest in culture, music was naturally in the limelight. Here is a throwback to the past through the songs that made people go wild for music in the 1920s.
1. Weill Kleine Dreigroschenmusik (The Threepenny Opera Suite)
Richard Simonton collection of Welte system-recorded piano rolls
Player piano rolls recorded with the Edwin Welte system by prominent European and American musicians, 1905-1920; catalogs of the Welte Company in Freiburg, Germany.
Armstrong played with King Oliver's band at the beginning of the 1920s, by the end of the decade he had moved on to a highly successful career playing around the world with nearly every famous jazz musician.
Armstrong, known as "Satchmo" or "Pops", is the foundation of 1920s jazz. He experimented with nearly every musical style, including Hawaiian, gospel, bluegrass, and popular music of the twenties.
As you can see there is a tons of information about 1920s music. This page is dedicated to bring it to you. Check back often as I'm writing more on figures such as Duke Ellington, Ella Fitzgerald, Jelly Roll Morton, and others.
The Roaring Twenties (1920s, that is) were a decade of change and progress in many areas. This decade marked the beginning of modern music as we know it today, with the emergence of new technologies and the growth of the music recording industry. From the invention of the radio to the birth of revolutionary music genres and dance styles, the 1920s was a time of innovation and creativity in music and beyond. History characterizes this decade by economic prosperity, excess, and exuberant optimism. You can hear it all in the popular music of the time.
The invention of the radio took place in 1895, but the First World War inevitably advanced the technology. After the war, the United States created several radio stations. On November 2, 1920, the Westinghouse Electric and Manufacturing Company of Pittsburgh made the first scheduled transmission of a commercial radio station under the call sign KDKA. Just four short years later, there were 600 stations across the U.S.!
The 1920s dance styles reflected the relaxing social norms of American culture. Popular dances were becoming far less rigid than the waltzes of the past. People danced the foxtrot to big band music. Couples got passionate with the tango, and the streets of Harlem were ever-present, with folks in swing dance halls twirling the Lindy Hop.
The influence of 1920s music continues to evolve. It is present in many current popular music standards, modal music, pop, rock, funk, and even avant-garde works. Jazz is pervasive and is the foundation of American music and pop culture.
Leading up to the 1920s, African American music came to the attention of the white music industry and white music audiences. In 1912 W. C. Handy became the "Father of the Blues" with his composition, Memphis Blues. His inspiration for the style came from an African American musical practice of singing away one's sorrows to move on and up away from them. W. C. Handy and "Ma" Rainey both recalled having heard the blues being sung by amateur singers in this tradition, but their ability to translate this country form into a performance style is what brought it to the attention of white audiences and the music industry. 0852c4b9a8
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